Abstract:With the continuous penetration of digital culture, digital games have evolved into hybrid media that integrate social interaction, emotional experience, and platform mechanisms. As the boundaries between virtual and real, play and everyday life become increasingly blurred, the originally autonomous structure of the “magic circle” has lost its clarity. Players gradually lose control over the boundaries of gameplay and find themselves trapped in a state of context collapse. Based on participatory online observation and in-depth interviews with 19 players, this study identifies three types of context collapse: conflicts in visibility logic, conflicts in role performance, and conflicts in emotional norms. In response, players engage in boundary reconstruction through practices such as technical disconnection, social adjustment, affective withdrawal, and the rebuilding of the magic circle. These include using invisibility features to reduce social exposure, adjusting interaction frequency to renegotiate relational boundaries, emotionally detaching to alleviate psychological pressure, and reshaping gameplay experiences to regain autonomy and immersion. Such practices of contextual repair not only serve as coping mechanisms for social stress but also represent a form of soft cultural resistance. By actively managing visibility and identity boundaries, players achieve partial restoration of collapsed contexts and construct a dynamic balance in boundary negotiation within digital culture, thus enabling more effective governance of social boundaries in gameplay. The analytical framework of “context collapse—contextual repair” offers a new perspective for understanding how individuals resist platform discipline and actively reconfigure media use boundaries in highly mediated environments.
何建平, 贾晓乐. “游戏应属于谁”:平台游戏中的情境崩溃与边界修复实践[J]. 《深圳大学学报》(人文社科版), 2025, 42(4): 52-62.
HE Jian-ping, JIA Xiao-le. Who Owns the Game: Context Collapse and the Practice of Boundary Repair in Platform-Based Games. , 2025, 42(4): 52-62.
[1] 黄少华.网络游戏意识对网络游戏行为的影响——以青少年网民为例[J].新闻与传播研究,2009,16(2):59-68+108. [2] 王水雄.从“游戏社会化”到“社会游戏化”——网络时代的游戏化社会来临[J].探索与争鸣,2019,(10):148-156+160+2. [3] (荷)约翰·赫伊津哈.游戏的人:文化的游戏要素研究[M].傅存良译.北京:北京大学出版社,2014. [4] Turner V.The Ritual Process:Structure and Anti-Stru-cture[M].Chicago:Aldine,1969.94-130. [5] 姜宇辉.“玩是谦恭,不是解放”——作为控制、反制与自制的电子游戏[J].探索与争鸣,2019,(4):84-91+159. [6] Salen K, Zimmerman E.Rules of Play:Game Design Fun-damentals[M].London: MIT Press,2004.94. [7] Consalvo M.There is No Magic Circle[J].Games and Cul-ture,2009,4(4):408-417. [8] 姜宇辉. 数字仙境或冷酷尽头:重思电子游戏的时间性[J].文艺研究,2021,(8):103-113. [9] 陆正兰,李俊欣.从“理性的人”到“游戏的人”:游戏的意义理论研究[J].江西师范大学学报(哲学社会科学版),2020,53(5):59-65. [10] Boyd D.Why Youth Heart Social Network Sites: The Role of Networked Publics in Teenage Social Life[A].Bu-ckingman D, ed. Youth, Identity, and Digital Media[M].Cambridge,MA:MIT Press,2008.119-142. [11] Davis J L, Jurgenson N.Context Collapse:Theorizing Co-ntext Collusions and Collisions[J].Information,Communi-cation & Society,2014,17(4):476-485. [12] Dhir A, Yossatorn Y, Kaur P, et al.Online Social Media Fatigue and Psychological Wellbeing: A Study of Compulsive Use, Fear of Missing Out, Fatigue, Anxiety and Depression[J].International Journal of Information M-anagement,2018,(40):141-152. [13] 薛静,洪杰文.角色压力视角下青年群体社交媒体倦怠影响因素研究——以微信朋友圈为例[J].新闻界,2020,(7):21-32+40. [14] 钟智锦. 网络游戏玩家的基本特征及游戏中的社会化行为[J].现代传播(中国传媒大学学报),2011,(1):111-115. [15] 赵红勋,陈霞.角色认知与关系建构:青年游戏实践的社会交往研究——基于《王者荣耀》游戏玩家的学术考察[J].未来传播,2021,28(6):50-57+122. [16] 陈雪薇,张鹏霞.“不在线是一种奢望”:断连的理论阐释与研究进展[J].新闻与传播评论,2021,74(4):39-48. [17] 王飔濛.断连:作为数字连接中隐私焦虑的一种应激方式[J].西南民族大学学报(人文社会科学版),2024,45(3):152-159. [18] 张杰,马一琨.从情境崩溃到情境再分离:社会-关系情境中的用户社交媒介实践——基于微信朋友圈“仅三天可见”的研究[J].国际新闻界,2022,44(8):28-48. [19] 郭小安,陶思阅.“断”“连”之间:游戏玩家的情感迷失及行为调适——基于乙女游戏的扎根理论分析[J].未来传播,2025,32(2):19-30+128-129. [20] 董晨宇,丁依然,王乐宾.一起“开黑”:游戏社交中的关系破冰、情感仪式与媒介转移[J].福建师范大学学报(哲学社会科学版),2022,(2):96-107+171-172. [21] 何威,李玥.戏假情真:《王者荣耀》如何影响玩家对历史人物的态度与认知[J].国际新闻界,2020,42(7):49-73. [22] Bucher T.Want to Be on the Top? Algorithmic Power and the Threat of Invisibility on Facebook[J].New Media & Society,2012,14(7):1164-1180. [23] 夏莹,潘沈阳.Paidia的消逝:从电子游戏商品透视当代消费-劳动的诱惑修辞[J].上海大学学报(社会科学版),2024,41(2):53-66. [24] (法)欧文·戈夫曼.日常生活中的自我呈现[M].冯钢译.北京:北京大学出版社,2008.20-29. [25] Marwick A, Boyd D.I Tweet Honestly, I Tweet Passio-nately:Twitter Users, Context Collapse, and the Imagined Audience[J].New Media & Society,2011,13(1):114-133. [26] 王鹏,侯钧生.情感社会学:研究的现状与趋势[J].社会,2005,(4):70-87. [27] Hochschild A R.The Managed Heart: Commercialization of Human Feeling[M].Berkeley:University of California P-ress,1983.7-8. [28] 蒋俏蕾,张自中.作为情感媒介的游戏:网络游戏中的严肃情感研究[J].中国青年研究,2024,(12):75-82+118. [29] Mitchell L.Ludopolitics:Videogames Against Control[M].Winchester & Washington:Zero Books,2018.142. [30] 何威.“文化抵抗”与“抵抗文化”——网众传播中的一种群体行为及其后果[J].新闻与传播评论,2010,(00):159-175+241. [31] Prayogi A, Wasito A, Alghiffary M.Creative Industries and a Social Resistance:A Conceptual Study of Video Games as a Medium of Social Resistance[J].Noctis,2023,(1):1-10. [32] Huang V G, Liu T.Gamifying Contentious Politics: Ga-ming Capital and Playful Resistance[J].Games and Cult-ure,2022,17(1):26-46. [33] 常江. 作为媒介抵抗文化的数字极简主义[J].南京社会科学,2023,(12):83-92. [34] 毕雨辉. 与数字共舞:青年数字极简主义者的生活实践与自我调适[J].中国青年研究,2024,(5):78-87.